Pia Toscano Quotes

I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.

The first 2 weeks, they didn't learn the piece - they went through the process of how the piece was made.

I got really hooked on this riff in the middle of this song called 'Minor Miracles' by my friend Eric Johnson from Fruit Bats. I got the tracks for that from him, and that turned into 'Here in Spirit.'

I didn't just sit down and write 'Summer In Kingston' from scratch; it came about from a bunch of songs I already had.

I would play all the parts of the song, show them the way it went together. Then I'd basically break down an arrangement - I wouldn't plan endings or beginnings - so they knew everything that was going on. I had the lyrics on a prompter so that I could remember everything I'd written, and I was able to just get into the groove and play with them. I think "Peace Trail" is one of the exceptions, where it's a later take. It just happened really quickly.

I love collaborating because I come from the world of being in bands.

We always used to describe ourselves as an instrumental band. Basically, the music was always instrumentally based, so the songs always came later.

I love being part of a creative process, so having a band to work with is perfect for me.

I am so highly skilled that when I pick up a phrase and then pick up my guitar, a form comes out almost immediately - a song - and once I start, I have to finish it.

I still remember how hard I worked on the tune of 'Raree rareeram... ;' the first tune I tried was rejected.

It's rare when you stumble upon this amazing melody. We'd love to make a 'Let Me Love You' every time we go into the studio, but it's definitely a special one.

Usually, when we write in The B-52s, it's quite a collaborative process. We really take hours - and sometimes days - jamming, and then we listen and listen to them and go, 'Oh, let's use this part, and then this part.' It's really like a collage.

It's like... to make a good record - I don't care who you are - it takes a long time and a lot of passion and a lot of attention to detail, right?

I think it's down to our songs - we've always made sure every song on every album works.

I think, now that I've been writing songs in general, whether it's for the group or for me, I definitely feel like I got a little trigger happy, because it was so exciting to have production and create and put a lot in there.

There were lots of songs that were on 'It Still Moves' that I had written, and we had played - rehearsed, but also played live a couple of times - that could've gone on 'At Dawn', but we always knew we wanted to make a record that was more quote-unquote 'rock n' roll.'

I still love playing live, and I love doing records, but writing songs is my main thing.

Most of my collaborations, certainly post - Howard Ashman but even with Howard, are music first.

When I was about 14, I got a tacky keyboard for 250 pounds and put on a drum machine and found I could write a song.

You can't be theoretical when you're building a musical.

It takes so much energy and time to make one song perfect.

I'm always working on music.

When it comes to song creation, I throw in my ideas and have it discussed with the producer. The song gets its own characteristic as new ideas are incorporated.

Typically in Korea when I perform I have a full band, a ten-piece band, and that's a completely different monster in itself to prepare and rehearse.

I'll get a few words and then go back to the music and then back to words, and play them off each other - and then I'll bring the song to the band.